In these essays the minimalist approach to linguistic theory is formulated and progressively developed.

Herbert Clark argues that language use is more than the sum of a speaker speaking and a listener listening. It is the joint action that emerges when speakers and listeners, writers and readers perform their individual actions in coordination, as ensembles. In contrast to work within the cognitive sciences, which has seen language use as an individual process, and to work within the social sciences, which has seen it as a social process, the author argues strongly that language use embodies (...) both individual and social processes. (shrink)

We argue that an understanding of the faculty of language requires substantial interdisciplinary cooperation. We suggest how current developments in linguistics can be profitably wedded to work in evolutionary biology, anthropology, psychology, and neuroscience. We submit that a distinction should be made between the faculty of language in the broad sense (FLB)and in the narrow sense (FLN). FLB includes a sensory-motor system, a conceptual-intentional system, and the computational mechanisms for recursion, providing the capacity to generate an infinite range of expressions (...) from a finite set of elements. We hypothesize that FLN only includes recursion and is the only uniquely human component of the faculty of language. We further argue that FLN may have evolved for reasons other than language, hence comparative studies might look for evidence of such computations outside of the domain of communication (for example, number, navigation, and social relations). (shrink)

The science of linguistics is made accessible by the author of Consciousness and the Computational Mind, who demonstrates evidence for an innate Universal Grammar that provides the building blocks for all human languages.

Since its publication fifty years ago, this work has established itself as a classic. It casts the visual process in psychological terms and describes the creative way one's eye organizes visual material according to specific psychological premises. In 1974 this book was revised and expanded, and since then it has continued to burnish Rudolf Arnheim's reputation as a groundbreaking theoretician in the fields of art and psychology.